Course material

1. Module 5: Discussion II (Music of the Baroque Era) This...
Module 5: Discussion II (Music of the Baroque Era)
This discussion is about opera - old opera (some things you might not know) & new
(current) opera. I've tried to choose some topics that should provoke reactions in you that
will lead to interesting discussions. Don't throw up yet, I haven't even told you what this is
about.
Opera: Old & New
Be sure that your first post discusses 1) Old Opera AND 2) New Opera.
1) Old Opera
To talk about old opera, I've headed directly for bizarro history. Farinelli (stage name for
Carlo Broschi) was a superstar, a rock star of opera. He is still considered one of the greatest
singers in the history of opera. A real person in history whose annual income was
approximately equivalent to that of a small European country, say Romania. Mega bucks. He
was a castrato. Whoa! Does that mean what I think it does? Uh, yeah, it does. I know the idea
is sick and wrong, but this was a common practice until the end of the 19th century. Now
you can throw up.
Castrati normally played heroic male roles (e.g., in Handel's Julius Cesar, the role of Cesar is
intended for a castrato). The idea was that higher voices represented characters of high
social position. Only in the Papal States, that part of Italy ruled by the Pope, did castrati play
female roles, as women were not allowed on stage there.
As one would expect, very few boys [none] volunteered to be castrated. Usually the kid
would be knocked unconscious and wake up a castrato. The operation was frequently fatal
(not a great sense of hygiene in the 18th century), or the boy's voice didn't develop into
anything special. When it was "successful", the soprano range of a boy's voice was
preserved and was thought to become more powerful than a woman's voice in the same
range. (No one currently knows if this is actually true). Castrati developed differently
physically than other males (lacking testosterone, it is theorized that other male hormones
overcompensated). Among other things, they were unusually tall, had spindly legs, and
were usually depicted as having HUGE barrel chests which increased their lung capacity,
enabling them to hold notes of superhuman length (see the clip from the major-release film
Farinelli below).
Caricature of a castrato on stage
In the clip below, you will also see what the Baroque opera was really like. People brought
in food and liquor. They gambled and made business deals during the opera. The upper

2. classes went to the opera every night that they didn't have something else going on. They
talked through the whole thing; although they quickly shut up if a famous singer was
singing. (It's still pretty much like that in parts (most) of Italy where they throw rotten fruit
and vegetables at singers they don't like, even booing them off the stage. There is even a
whole balcony in the audience occupied by a group called the claque who make their entire
livings from blackmailing singers. If you are a singer, you have to pay protection money or
they will boo you off the stage. A friend of mine made her debut in Milan and accidentally
overpaid the claque; they cheered and demanded so many encores that she lost her voice.
People are not very nice at soccer games either. Everyone is a critic!)
Notice the people wearing masks throughout the theatre. It was accepted among the upper
classes that some people would go to the opera to hook up with someone they shouldn't.
The rules were don't create a scandal or a pregnancy, otherwise party on. Wearing a mask is
plausible denial, although it doesn't really fool anyone. (And you thought that opera was
boring). Notice the sudden quiet when the great Farinelli appears as the god Apollo,
descending from a chariot with his helmet covered in feathers representing the rays of the
sun. Throwing the silk scarf into the audience is such a Michael Jackson / Harry Styles move.
Farinelli: Ombra fideleExcerpt from the film Farinelli Links to an external site.
It might also deepen your understanding to look at opera, for a moment, as an athletic
event. (Many people still see it this way, especially Italians and Americans). Lots of people
went to the opera to experience the extraordinary death-defying singing. I never miss
watching the Olympics (remember the Olympics?) because there is no way I can do any of
the things the athletes do. I want to know what humans (our species) are capable of. It is
always more than you think.
The following links provide an opportunity for you to explore the phenomenon of the
castrato, for the purpose of helping you make an interesting and intelligent discussion post.
(Don't feel obligated to listen to everything unless you have the time and are interested).
Alessando Moreschi Excerpt from (The 'Last Castrato'), the only recording of a real castrato.
https://www.youtube.com/watch?v=KLjvfqnD0wsLinks to an external site.
***REMASTERED. This was made at the very beginning of recording and the fidelity is very
primitive. He was already old by this time and we have no reason to believe that he was
ever a particularly good castrato.
Castrato and counter-tenor voices compared.
A). Alessandro Moreschi (castrato), "Pie Jesu" (Leybach) compared with B). Philippe
Jaroussky (counter-tenor), "Pie Jesu" from Requiem by Gabriel Fauré
Alessandro Moreschi: Pie Jesu (Leybach) 2. Philippe Jaroussky: Pie Jesu (Fauré)Links to an
external site.
Unfortunately there is really very little we can tell about castrati from this one old
recording. His vocal technique was appalling BUT his sense of pitch deserves capital
punishment and banishment to hell. Jaroussky, on the other hand, is a great artist, with a
sublime technique and commanding artistry. (A counter-tenor voice either occurs naturally
or through training [or both]. The countertenor's 'regular' voice is normally baritone, or
sometimes tenor.)
Javier Medina. "His remarkable ability is the result of a childhood illness related to leukemia

3. which left him with a 'hybrid larynx' similar to that possessed by the castrati of 200 years
ago." He is not a literal castrato in the surgical sense of the term. He was chemically
castrated by his medication.
Javier Medina singing One Moment in Time
One Moment In Time by Javier Medina in the style of Whitney Houston | SingSnap
KaraokeLinks to an external site.
Javier Medina singing Eres tu (Popular song)
Eres tu Javier MedinaLinks to an external site.
• Lastly, the Wikipedia article "Castrato" is fairly accurate (for once).
2) New Opera
Investigate ONE of the following seven choices for your discussion (or more if you wish). If
you were offered a free dinner and complementary tickets, would you be interested in
attending any of the following? Why or why not? What do you or don't you find appealing?
(Musical style? Literary subject? Format? Singing style?, etc.) Be specific and detailed.
I'm sorry that what I wrote is so long. The reason that I wrote so much is to give you real
choices and to save you time investigating the options. Your strategy should be to read
through all the descriptions and focus on the one(s) that interest you.
CAUTION: Some of these operas / scenes / subjects may trigger a strong emotional
response. Use your best judgement about what you can and can't handle. If you feel like you
are going to be overwhelmed, just stop and do something else for a while or pick a different
opera.
Opera is frequently intended to evoke a strong emotional response. Ideally, in the Dionysian
sense, the listener undergoes a catharsis which allows a purge of the emotions, and
eventually a return to emotional balance. It can be very intense to experience distilled,
concentrated feelings like this. Here we have one of the main reasons why some people
don't like opera -- it's just too intense (a typical Apollonian response; no judgement
intended).
The sources for these descriptions are not original with me. I have freely adapted materials
available from program notes and websites.
1) Hamilton: An American Musical by Lin-Manuel Miranda
As the Wikipedia article states in its first sentence: "Hamilton: An American Musical is a
sung-and-rapped-throughLinks to an external site. musical by Lin-Manuel MirandaLinks to
an external site.. Sung-and-rapped-through means that there are not spoken words without
music. (https://en.wikipedia.org/wiki/Sung-throughLinks to an external site.) This means
that Hamilton is technically an opera, as are the very large number of sung-through
musicals in the Wikipedia article. Hamilton [as is true of the other sung-through musicals
listed] is not marketed that way because it would be a turn-off for some people. Many
American musicals have sung dialogue and are labeled 'musicals' here, but considered
operas in Europe and the rest of the world. (For spoken dialogue in traditional opera with
instrumental music in the background, see the famous example of "The Letter Scene" from
Verdi's La Traviata).
You can watch Hamilton complete on Disney+. Also, you can find most of the music (a lot of
it staged) on YouTube:

4. HamiltonLinks to an external site.
It's a pretty lively ride. Contemporary musical styles (hip-hop, etc.) - does this make opera
more palatable?
2) Blue by Jeanine Tesori and Tazewell Thompson
From the webpage of The Lyric Opera (Chicago):
An African American couple in Harlem anticipates the birth of their firstborn, a son, with
both hope and fear. As the baby grows into a young man, the mother worries for his future,
and the father tries to prepare his son for the realities of 21st century America, while
wrestling with his own identity as a police officer, a "Black man in blue." When their deepest
fears come true [and their son is shot by a police officer whose race is not specified], the
family is forced to navigate a devastating reality seeking answers and support from their
church and community.
Gospel-influenced music and vivid flashbacks capture the grief of a family and community
navigating the turbulent waters of loss at the hands of police. Exploring race, violence, and
reconciliation, Blue places timely issues at the forefront of modern opera and invites
audiences to the emotional epicenter of their impact.
"The times are fraught. Lit by lightning and divisiveness. Love, family, friends and the
church are there when we need them. And we need them now. We need a song to soothe
our sorrows as we confront painful, personal truths. We need music in our lives and our
children near to help us repair heartache; music to ultimately lift us and celebrate the bonds
of sisterhood and brotherhood togetherness." - Tazewell Thompson, librettist and director.
Opera Blue confronts the police shooting of Black teenLinks to an external site.
Washington National Opera presents BlueLinks to an external site.
The Glimmerglass Opera Festival: Blue Links to an external site.
Most of the first performances of Blue were postponed because of the Covid19 pandemic,
(including the one scheduled for January, 2021, in Chicago that I had tickets for). Many
people are very excited about this new opera.
Contemporary subject matter - does this make opera more palatable? More interesting?
3) Vireo: The Spiritual Biography of a Witch's Accuser, by Lisa Bielawa
An opera with a feminist perspective (most people would agree that being burned at the
stake is a feminist issue).
Introduction to the idea:
Lisa Bielawa Introduces Vireo: The Spiritual Biography of a Witch's Accuser (Trailer 2)Links
to an external site.
VIREO LIVE is a groundbreaking hybrid film-opera experience based on Vireo: The Spiritual
Biography of a Witch's Accuser, an award-winning made-for-TV-and-online opera by Lisa
Bielawa, which premiered in 12 short episodes on public television station KCET in Los
Angeles.
Contemporary topics--feminism, religious oppression, the supernatural, time travel (if
only!) TV/YouTube format - do these features make opera more palatable?
The whole opera is available for free on line.
TRAILER:
https://vimeo.com/372906318Links to an external site.

5. WHOLE OPERA IN 12 SHORT EPISODES:
https://www.lisabielawa.net/vireoLinks to an external site.
4) Laura Kaminsky: As One
Laura Kaminsky's As One is a chamber opera in which two voices—Hannah after and
Hannah before—share the part of a sole transgender protagonist in a poignant coming-of-
age story with universal themes of identity, authenticity, and compassion.
The libretto describes As One as "a chamber opera in which two voices—Hannah after
(mezzo-soprano) and Hannah before (baritone)—share the part of a sole transgender
protagonist." By casting Hannah for two voices, which often sing simultaneously, the
composer and librettist were able to explore a person whose identity is bifurcated. The
opera is intended as a coming-of-age story with universal themes of identity, authenticity,
and compassion. In the premiere production, the dual-roles of Hannah were portrayed by
baritone Kelly Markgraf and mezzo-soprano Sasha Cooke, who, offstage, are a married
couple.
Short commentary on the opera:https://www.youtube.com/watch?v=H8zpof5adNkLinks to
an external site.
Complete opera (Live broadcast from the Kennedy Center, Washington,
D.C.):https://www.youtube.com/watch?v=M1Hl6dlPsccLinks to an external site.
Short commentary on LGBT themes in current opera:
https://www.youtube.com/watch?v=T7P_lu18l-oLinks to an external site.
5) Zach Redler: The Falling and the Rising
The Falling and the Rising centers around a strong female hero known only as "Soldier".
After sending a video message home on the eve of her daughter's thirteenth birthday, our
soldier is severely wounded by a roadside IED. Doctors quickly place her in an induced
coma to help minimize the extensive trauma to her brain. The soldier must now make an
arduous journey towards both healing and home. The Falling and the Rising chronicles the
imagined journey of a soldier suspended inside a coma. We follow as she makes her way
through a miraculous coma-induced dreamscape- one punctuated with the lives of other
fellow service members, each on their own individual journey toward healing and home.
Together, they must move toward clarity, comfort, consciousness, and communal hope
during a time of adversity. This operatic soldier's odyssey was created in hopes of capturing
the indomitable spirit of our U.S. military veterans and to shed light on the inspirational
power of their often overlooked stories. The Falling and the Rising is a story of family,
service, and sacrifice inside a period of great uncertainty.
About the opera (short clip):
https://www.seattleopera.org/on-stage/the-falling-the-rising/Links to an external site.
I recommend that you listen to "Soldier"'s (the mother's) opening monologue (her birthday
message to her daughter) until the IED explodes. The introduction (before the opera begins)
gives some vital background as to how and why the opera was written (beginning 2:32ff.).
Real veterans were interviewed and the characters sing the veterans' real words. Then, I
recommend that you listen to the ending (from 1:03:00 to the end). Powerful stuff.
https://www.operaonvideo.com/the-falling-and-the-rising-redler-memphis-2019/Links to
an external site.

6. 6) Michael W. Ross: Not in My Town
We at Opera Fusion believe that the genre of opera or "musical drama" must take on
current issues. For our second season we are undertaking an ambitious project: the
premiere of Not In My Town, a musical drama in one 90-minute act written by composer
Michael W. Ross, based on the events surrounding the death of Matthew Shepard, a young,
gay college student who was beaten, tied to a fence, and left to die.
Matthew's story is one of tragedy, but ultimate triumph for those in the LGBTQA community
dealing with the same issues. The Hate Crimes Act (The Matthew Shepard and James Byrd,
Jr. Hate Crimes Prevention Act) aids all groups that have been bullied, physically abused, or
violated for reasons as simple as sexual orientation, color of skin, or chosen religion.
The composer of Not In My Town, Michael Ross, says it perfectly: "I wanted to write this
piece because I want people to understand that good can come from such a terrible
tragedy."
To protect Matthew's family from seeing and hearing the hateful members of the Westboro
Baptist Church who were protesting at the funeral and the trials, Matthew's best friend,
Romaine Patterson, founded Angel Action. To physically block the protesters from view,
these people dressed as angels and spread their wings.
Not in My Town Go Fund Me PageLinks to an external site.
The music is gorgeous and very easy to listen to. Selected short scenes:
Scene 10 - Rev. Phelps protest at Matthew Shepard's funeral interrupted by Romaine's army
of Angels.
https://www.facebook.com/nimtopera/videos/10201416655284687/Links to an external
site.
Beginning of Matthew's Aria:
https://www.facebook.com/michael.ross.1428/videos/10217686120211142/Links to an
external site.
7) Daniel Bernhard Roumain: We Shall Not Be Moved
"A musical collage of gospel, funk, jazz, R & B, hip-hop, and classical styes." NY Times
From the NPR Review:
We Shall Not Be Moved is a new opera that takes its name from both the old spiritual-
turned-civil-rights anthem and the Philadelphia Black liberation group, MOVE. That group
might be best-remembered for a 1985 tragedy: A police helicopter bombed the MOVE
house, and the resulting fire killed 11 people and destroyed 62 homes in the neighborhood.
The opera, presented by Opera Philadelphia with the Apollo Theater, had its world
premiere Sept. 16. It revisits that house and its ghosts, while remaining centered on stories
about young people in Philadelphia today.
Librettist Marc Bamuthi Joseph says that even though the events of the MOVE bombing
happened more than 32 years ago, they still haunt the citizens of Philadelphia.
"I've heard one person say that the bombing of the MOVE house was like a Sept. 11 event
for, you know, people in the city of Philly," he says, "that they'll always remember where
they were, and they experienced a collective trauma."
So, he and his collaborators — composer Daniel Bernard Roumain and director and
choreographer Bill T. Jones — tread carefully. They were inspired by poems created

7. through a teen workshop sponsored by Opera Philadelphia and a local non-profit. And they
cast New York spoken word artist Lauren Whitehead as a 15-year-old girl who leads a
group of young men whose school has been closed due to budget cuts.
"She arrives at school one day and the doors are locked," Whitehead explains. "She
convinces her brothers that instead of going to the other school where they've been
assigned, that they should, sort of, squat in the bombed-out shell of a home on Osage
Avenue. And she really begins to believe that she's getting lessons from ghosts while she is
there."
Follow this link for some really great clips:
https://www.youtube.com/watch?v=zaRuRtziYls&list=PLpbhbGwbWvNIo3kRm_FP_tdw3
MhFKYCG1&index=5Links to an external site.